Measuring What Matters:

THE IMPACT OF TALENT

DIVERSITY ON AUDIENCE
DEMAND FOR TELEVISION
 EXECUTIVE INTRO
Wared Seger
CEO & Founder
Parrot Analytics
Since its inception, Parrot Analytics
has believed that embracing diver-
sity results in more innovative ideas
and a more prosperous industry.
Therefore, diversity and inclusion are
not only at the center of our com-
Kevin Huvane
Co-Chairman
CAA
CAA has been working for years to
accelerate the growth, value, and
visibility of inclusion in our industry.
Our commitment to this work has
been foundational to providing the
best opportunities for our clients
and to elevating voices that have
2 3
Diversity in T V
pany’s culture, but also at the center
of our company’s mission to unlock
the magic of content. We believe
embracing differences across race,
ethnicity, gender, sexual orientation,
age, religious beliefs, and physical
abilities are crucial to thriving in the
business of storytelling.
Using the world’s only global mea-
surement system of demand, we
empower our partners to listen to
the rich tapestry of audiences to
nimbly respond to the challenges
not been represented in important
cultural conversations.
We also believe in the power of data
to help influence dialogue around
the need for more accurate, au-
thentic representation across me-
dia and its impact on audiences. The
numbers in this report speak for
themselves. As demographics con-
tinue to shift, it’s important that we
create and support content that
reflects this new majority of diverse
consumers.
TABLE OF CONTENTS
and opportunities of an ev- EXECUTIVE SUMMARY 4-5
er-changing entertainment indus-
try. This report exemplifies why an
empirical metric of observed be-
haviors is revolutionary.
INTRODUCTION & METHODOLOGY 6-11
We are proud to move the industry
towards a more equitable future for
all talent. We remain committed to
our long-term objective to show-
case the value of diversity and in- FINDINGS 12-19
clusion as we continue to unlock the
magic of content for our partners
around the globe.
PLATFORM SNAPSHOT 20-27
We must listen to audiences, other-
wise we miss out on reaching them
by not telling the stories that they INDUSTRY VOICES 28-29
crave. We hope that showing the
increasing success of shows with
strong racially and ethnically di-
verse representation will encourage
more creative decisions that will RECOMMENDATIONS 30-31
continue to shift the complexion of
who we see on our television screens.
Our industry is at a turning point,
and we are just beginning to scratch POSTFACE 31
the surface.
MIPCOM 2020
 EXECUTIVE SUMMARY
In this section, we summarize our key findings about the
impact of talent diversity on TV demand.

Building on CAA’s Motion Picture Cast Diversity Index report published in

June 2017, Parrot Analytics and CAA collaborated on this report to examine
audience demand for television shows based on the racial and ethnic make-
3. Cast diversity correlates with the immediate audience demand
for a show.

In 2019, premieres that had at least 40% diversity among their

up of a show’s series regular cast.
series regular casts were 1.5x more in-demand than shows with
less than 40% diversity. Furthermore, the demand for premieres
This report focuses on diversity among series regular cast in first-run, script-
that had at least 60% diversity more than tripled (+211%) since
ed television shows in the United States that premiered between 2017 and
2017, becoming the most in-demand shows in 2019.
2019. We evaluated 380 scripted television series debuts across broadcast,
cable and streaming services for the racial and ethnic diversity of series
regular talent and popularity after the show premiere. From these data we
are able to draw the following primary conclusions:

1. Compared to 2017, 2019 showed a substantial increase in racial

and ethnic cast diversity in scripted television.
4. Hispanic and Latino talent are significantly underrepresented,
despite significant recent growth in their domestic population.
In 2019, there were 1.4x more premiering shows with at least 40%
In 2019, Hispanic and Latino communities represented 18% of the
cast diversity (i.e., nonwhites) compared to 2017. These diverse
U.S. population but only 5% of series regular talent in the shows
premieres at least resemble if not exceed the U.S. Census estimate
we analyzed.
40% of the U.S. is nonwhite in 2019.

2. Audiences are responding to and looking for content that is

more racially and ethnically representative of the United States
population.
The demand for shows with at least 40% cast diversity has more
than doubled in the last three years (+112%), outpacing the growth
in the number of shows with at least 40% cast diversity that have
made it to air (+42%).
5. Streaming platforms showed the greatest growth in diverse
cast representation since 2017.
Streaming platforms have increased their percentage of diverse
talent in their premiere series regular cast from 30% in 2017 to
39% in 2019. Streamers have had the greatest increase in the num-
ber of diverse talent and in 2019 have double broadcast’s and
cable’s number of diverse talent.

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Diversity in T V MIPCOM 2020
 INTRODUCTION &
METHODOLOGY
In this section, we share our reasoning, definitions,
and procedures for conducting this study.

Show Trivia!
U.S. demand for Euphoria
is 27x greater than the
average U.S. title as of
October 2020, landing the
title in the 99.7th percen-
tile of all U.S. dramas.

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Diversity in T V MIPCOM 2020

INTRO TO DIVERSITY IN TV
Introduction
Global TV analytics firm Parrot Analytics and leading entertainment and
sports agency Creative Artists Agency (CAA), both longtime leaders in the
promotion of inclusion across the media industry, believe in the power of
data to shape and drive business decisions that drive equity both in front of
and behind the camera.
This report is a follow up to the CAA Motion Picture Cast Diversity Index, which
CAA issued in June 2017. The primary goal of that research was to determine
the correlative factors of diverse casting, diverse audiences, and box office
success, and the broader implications on the business case for diversity in
motion picture programming. The Index, which is updated and re-evaluated
quarterly, currently includes 854 theatrical films released from January 2014
through December 2019 and focuses on cast race and ethnicity for 8,165
actors.
In order to provide industry leaders with insights into the value of investing
resources in representative content and narratives, Parrot Analytics and CAA
collaborated to publish their first, “Measuring What Matters” report that
examines cast racial and ethnic diversity in domestic first-run scripted tele-
vision premieres in the United States between 2017 and 2019.
In addition to measuring the racial and ethnic makeups of the series regular
casts, this study examines the relative success of these shows by utilizing
post-premiere U.S. domestic audience demand as the primary metric.
Why this study matters now?
The United States’ population is becoming increasingly Nonwhite at a rate
that has outpaced previous estimates from the U.S. Census Bureau. Recent
reports reveal that the proportion of Nonwhite populations in the country
has nearly doubled in the last two decades, with this latest decade likely
to be the first to show a decline among the White population.
8 9
Diversity in T V
Additionally, social movements are continuing to gain
attention both within and outside the industry. Initiatives
like #OscarsSoWhite and organizations like Black Lives
Matter are calling for systemic change to advance racial
and ethnic equity across business and society. They are
recognizing the essential role that entertainment, spe-
cifically television, plays in creating a more empathetic
society.
We also see an increase in demand for and viewership
of racially and ethnically diverse content in direct re-
sponse to the important social moments. For example,
in the days following the murder of George Floyd in May
2020, shows including When They See Us (Netflix) and
Dear White People (Netflix) saw a tremendous surge in
viewership amidst calls for audiences to educate them-
selves on the history of racial inequality in this country.
As viewers seek out this content, we can also expect to
see increased social conversation around the issues rep-
resented in these projects, causing audiences to be more
aware and critical of content than ever before.
Online social networks and platforms like Instagram and
Twitter allow audiences to be more directly connected
to series regular casts, opening up dialogues around so-
cial issues, creative projects, and other critical topics.
This presents an important opportunity for content cre-
ators to be especially aware of how their work is received
and how their creative decisions impact audiences in
real time.
From a business perspective, the rapid expansion of OTT
distribution platforms, a market segment that is expect-
ed to continue growing with a compound annual growth
rate of 16.7%, has provided audiences with increased
access to television content. Because of the rapid in-
crease in the number of shows available to audiences, it
is important for producers, studios and networks to iden-
tify the creative metrics that directly impact a show’s
success.
We understand that the intersection of various issues can
impact the success of a television series because:
• A
 uthentic stories resonate. We continue to see re-
search indicating that audiences want to see them-
selves represented in the shows they watch. Narratives
that reflect lived experiences through authentic sto-
rylines, themes and characters are more relevant to
audiences and drive more engagement, allowing these
shows to outperform their competitors.
• A
 udiences are socially conscious. Television viewers
are increasingly aware of the political nuances of the
content they consume, often identifying what is wrong
(inauthentic) versus right (authentic).
• C
 ontent engagement is rising. Executives, producers
and series regulars are actively engaging audiences
through new interactive opportunities like live-tweet-
ing episodes or online viewing parties. In doing so, cre-
ators are also exposed to direct public criticism should
audiences feel that their communities are misrepre-
sented, mischaracterized, or simply invisible on screen.
While this study examines series regular cast talent, we
also recognize that there are many points of influence
within the creative process that impact a show’s creative
direction, including but not limited to racial and ethnic
representation among writers, showrunners, studio and
network executives, casting directors and marketers.
MIPCOM 2020

METHODOLOGY
Key Definitions
Race and Ethnicity
As dialogue around racial and eth-
nic representation in entertainment
and media continues to evolve, so
does the terminology around de-
scribing groupings and sub-group-
ings of individuals in American so-
ciety, including language such as
“people of color” and “BIPOC”
(Black, Indigenous and People of
Color).
For the purposes of this report, and
in line with recent studies from rel-
evant organizations, we have chosen
to use the term “diverse” to identify
individuals from nonwhite racial and
ethnic backgrounds. In accordance
with racial and ethnic categories on
the U.S. census, “diverse” includes
Black or African American, Native
American and Alaska Native, Asian
American, Native Hawaiian and
10
Diversity in T V
Other Pacific Islander, as well as
Hispanic and Latino individuals.
Therefore, “non-diverse” refers spe-
cifically to white, non-Hispanic or
Latino individuals.
In categorizing a television series
debut as “diverse” or “non-diverse,”
we reference the current percentage
of nonwhite individuals in the United
States, which is approximately 40%
of the population. We recognize that
in characterizing a series as “diverse,”
more than half of the series regular
cast may still be white. Recent re-
ports project nonwhite individuals
will become the majority in the U.S.
population by 2045. Therefore we
further segmented diverse debuts
two subcategories: “moderately di-
verse” and “highly diverse.” We de-
fined diverse debuts with at least a
40% but less than 60% nonwhite cast
as “moderately diverse” and diverse
debuts with at least a 60% nonwhite
cast as “highly diverse.”
This study evaluated 380 scripted
television debuts (live-action n =
320; animation & children n = 60) in
the U.S. between 2017 and 2019
across broadcast, cable and
streaming services. We examined
the racial and ethnic diversity of
series regular actors and measured
the audience demand after the
show’s premiere.
Series regular race and ethnicity
data was sourced from Variety
Insight, resulting in a dataset of
5,585 actors.
Scripted Series
We acknowledge that the impact
of talent diversity in live-action
scripted series differ from animation
and children’s programming. In
live-action content it is difficult to
differentiate between the race and
ethnicity of a character and the ac-
tor playing that character. In ani-
mation and children’s series, these
do not always align. However, audi-
ences today can easily research who
voices their favorite animated char-
acters and as a result, may feel a
lack of authenticity when non-di-
verse actors voice diverse charac-
ters. In response, two high-profile
animated series recently recast ac-
tors in series regular voiceover roles
to better align with the characters
they portray. While diversity among
voice actors may impact audiences
indirectly, they are included in this
study of scripted series.
• TALENT
On-screen as well as voice actor series regular cast members as defined by
Variety Insight.
• DIVERSE TALENT
Series regular actors who are nonwhite, including Hispanic and Latino.
• NON-DIVERSE TALENT
Series regular actors who are white, non-Hispanic or Latino.
• SCRIPTED DEBUT
Scripted live-action (i.e., drama, comedy, action and adventure, and horror
series) as well as children and animation first-run television series premiere.
• DIVERSE DEBUT
U.S. first-run television scripted series premiere in which at least 40% of the series
regular cast is nonwhite. These debuts’ casts at least mirror the percentage of
nonwhites in the U.S. population according to the U.S. Census 2019 estimates.
• NON-DIVERSE DEBUT
U.S. first-run television scripted series premiere in which less than 40% of the
series regular cast is nonwhite.
• MODERATELY DIVERSE DEBUT
U.S. first-run television scripted series premiere in which at least 40% but less
than 60% of the series regular cast is nonwhite.
• HIGHLY DIVERSE DEBUT
U.S. first-run television scripted series premiere in which at least 60% of the
series regular cast is nonwhite.
• DEMAND
The cross-platform popularity of content measured by audiences across var-
ious digital forms of interaction including video consumption (streaming and
downloads), social media engagement (hashtags, liking, sharing) and research
actions (reading about shows and writing about shows) via the global stan-
dardized metric of demand (see here for more information).
Average post-premiere U.S. audience demand was used as a standardized
popularity metric for the shows in this report.
• DIVERSE TENTPOLES
Refers to the annual top 25 most in-demand U.S. first-run television scripted
series premieres, typically at least 8x more in-demand than the average title.
11
MIPCOM 2020
 FINDINGS
In this section, we share the primary
insights from our study.

Show Trivia!

As of October 2020,
Grown-ish is 6x more
in-demand among U.S.
audiences than the av-
erage U.S. title. The show
is an even bigger hit
among South African
audiences, where it is 11x
more in-demand than
the average title.

12 13
Diversity in T V MIPCOM 2020
 SUPPLY In 2019, the number (supply) of diverse debuts has surpassed DEMAND Diverse debuts outperform non-diverse
non-diverse debuts. debuts as of 2019.

The Diversity Supply Gap The Diversity Demand Gap

Calls to resolve the gap in the supply of racially and ethnically diverse content on TV date at least back to 1999. Since The entertainment industry tends to respond to content that succeeds. Where previously no metrics could quantify
then, entertainment companies have responded by appointing diversity executives and with initiatives to improve cast the success of television debuts across distribution types, leveraging Parrot Analytics’ global audience demand mea-
diversity. This study evaluates industry progress by comparing the number of diverse and non-diverse debuts. surement system this study can examine the success of diverse debuts and it compare it to that of non-diverse debuts.

How has the Diversity Supply Gap Changed Between 2017 and 2019? How has the Diversity Demand Gap Changed Between 2017 and 2019?

Annual Count of All US Scripted Debuts Average Demand of Annual Top 100 In-Demand US Scripted Debuts

17x • S
 ince 2017, demand for diverse
71 • Since
 2017, the supply of-
debuts has more than doubled,
66 debuts with diverse talent
increasing 112.5%, and outpac-
has increased by 42%.

Indexed to Annual Average

61 15x
69 ing the 42% growth in the num-
63 11x

Demand (x times)
11x ber of (supply) diverse debuts.
• T
 he supply of non-diverse
debuts has only increased
50 10x • T
he demand for non-diverse
16% between 2017 and
8x debuts has only increased 36%
2019.
since 2017.

• I n 2019, for the first time,

• In 2019, for the first time, the
there is a greater number-
demand for diverse debuts sur-
of diverse debuts than-
passed the demand for non-di-
2017 2018 2019 non-diverse debuts. 2017 2018 2019
verse debuts.
Non-Diverse Diverse Non-Diverse Diverse

How has the Diversity Demand Gap Changed Average Demand of Annual Top 100 In-Demand US Live-Action Debuts How has the Diversity Demand Gap Changed Average US Demand of Annual Top 25 In-Demand US Scripted Debuts
Among Live-Action Debuts? Between 2017 and 2019 Among Tentpoles?

When examining the demand of diverse debuts Our findings reveal that as of 2019, diverse
17x 41x
in the annual top 100 live-action debuts we find: tentpoles (hit debuts) are more popular than
Indexed Demand to Annual

15x

Indexed to Annual Average

non-diverse tentpoles.
• I n 2017, non-diverse live-action debuts were 25%
Average (x times)

Demand (x times)
more in-demand than live-action diverse debuts. • In 2019, for the first time, diverse tentpoles 28x
10x 10x 10x 26x
were 46% more in-demand than non-di-
• S
 ince 2017, demand for diverse live-action debuts verse tentpoles. 22x 21x
8x 19x
had grown 112.5%, while demand for non-diverse
live action debuts only grew 50% in the same • D
 iverse tentpoles have almost doubled their
period. demand in three years, increasing 86%.

• In 2019, demand for diverse live-action debuts’ • The demand for non-diverse tentpoles’ has
surpassed that of non-diverse live-action debuts. 2017 2018 2019 only increased by 8%, since 2017. 2017 2018 2019
Non-Diverse Diverse Non-Diverse Diverse

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Diversity in T V MIPCOM 2020
 TALENT DIVERSITY TRENDS TALENT DIVERSITY TRENDS

How Do the Ethnicities and Races of Series Regular Talent in Debuts Between 2017 and 2019 Compare to That of the
Talent diversity has increased since 2017, primarily growing U.S. Population?

on streaming platforms.
While diverse representation is on the rise, examining equity in representation requires evaluating the casting of various
ethnic and racial groups as compared to their proportion of the U.S. population.
How Has Talent Diversity Changed Between 2017 and 2019?
Racial and Ethnic Composition of US Population vs. US Debut Series Regular Talent in 2017-2019

Percentage of Diverse Talent in US Debut Series Regular Casts

1% <1% 1% <1%
• I n 2017, less than one in 3%
three series regular tal-
9%
6%
68% 66% 59% ent in debuts were di-
verse.
Native Hawaiian & 7%
Pacific Islander
18% 5%
• I n 2019, two in five series
regular talent in debuts American Indian &
were diverse, matching Alaskan Native
14%
the diversity in the U.S. 13%
population at 40%.
Multiracial
32% 34% 41%
• T
 he percentage of di-
verse talent has has in-
creased 9% between Asian
2017 2018 2019
2017 and 2019.
Non-Diverse Diverse
Hispanic & Latino,
nonwhite
60% 65%

How Has the Casting of Diverse Talent Shifted Between 2017 and 2019 by Distribution Type?
Black

Number of Diverse Talent Cast as Series Regular in a US Debut When evaluating the annual number of diverse
talent cast in U.S. scripted debuts by broadcast,
White
cable, and streaming platforms, we found:
US Census 2019 Talent
203
• S
 treaming platforms (streamers) have shown
the greatest increase and the overall highest
number of diverse talent in 2019, nearly dou- • H
 ispanics & Latinos are severely underrepresented. Compared to their proportion of the U.S. population, Hispanics
138
120
bling the number of diverse talent on cable and and Latinos have been represented by debuts series regular talent less than one-third as often.
114
133 broadcast series.
116
• A
 merican Indian & Alaskan Natives are also severely underrepresented; they are 10 times more common in the U.S.
104
85 • I n 2017, broadcast had cast more diverse talent population than in the debuts series’ regular talent.
80
than streamers. Broadcast tied with streamers
in 2018, then fell behind by 2019. • N
 ative Hawaiians & Pacific Islanders are underrepresented as well; they make up 0.2% of the U.S. population but only
only 0.08% of the debut series’ regular talent.
• I n 2017, cable rivaled broadcast, but in 2018
2017 2018 2019 and 2019, cable cast the lowest number of di- • T
 he multiracial demographic is overrepresented. Multiracial talent has three times the representation among debuts’
Streamers Broadcast Cable verse talent. series regulars as this demographic’s proportion of the U.S. population.

16 17
Diversity in T V MIPCOM 2020
 HIGHLY DIVERSE DEBUTS HIGHLY DIVERSE DEBUTS

How Does the Supply of Highly Diverse Debuts Between 2017 and 2019 Compare Across Distribution Types?
Highly diverse debuts (60%+ cast diversity) are growing
Highly diverse debuts have increased their demand, but supply has not kept up with audiences desires. In this section,
more in-demand every year.
we examine the supply of highly diverse debuts across the three years for broadcast, cable, and streaming platforms.

How has the Demand for Highly Diverse Debuts Changed Between 2017 and 2019?
Diversity in Annual Top 100 US Debuts Between 2017-2019 by Distribution Type

Average Demand of Annual Top 100 US Scripted Debuts • S

 ince 2017, the demand for Broadcast Cable Streamers
highly diverse debuts’ has
more than tripled, increas-
16.7 16.8 ing 211%.
15.0
• T
 he demand for non diverse 10
debuts was 106% greater
11.1 10.7 than highly diverse debuts
10.3
9.1 9.0 in 2017, and shrunk to only
19% greater in 2018. 7
8 13
5.4
• I n 2019, highly diverse de-

Number of Titles
buts are more in-demand 10 4
than non-diverse debuts 3
12
2017 2018 2019 and perform as well as 7
moderately diverse debuts 3 7 6
17 4
Non-Diverse Moderately Diverse Highly Diverse (40-60% cast diversity).
3 4
15
13
How Has the Supply of Highly Diverse Debuts Changed Between 2017 and 2019?
20 17 16 21 21 28
Annual Top 100 US Scripted Debuts
13 9 9
When evaluating the supply of highly diverse
15 23 17 debuts in the top 100 U.S. scripted debuts across
broadcast, cable, and streaming platforms, we 2017 2018 2019 2017 2018 2019 2017 2018 2019
found:
31 30 30
Non-Diverse Moderately Diverse Highly Diverse
• T
 he number of moderately diverse debuts has
remained consistent in the last three years.
• S
 treamers’ increasing number of highly diverse debuts corresponds with a greater share of streaming titles in the top
54 47 53 • I n 2018, the number of highly diverse debuts 100 debuts. Streamers released 2.5x more highly diverse debuts in 2019 than 2017.
peaked. While there was a decline in 2019, the
number of highly diverse debuts still increased • B
 roadcast, on the other hand, has dropped its share of debuts in the annual top 100 by 32%, while decreasing the
13% since 2017. share of highly diverse debuts by 62%.
2017 2018 2019
• I n 2018 and 2019, the overall number of cable debuts in the annual top 100 decreased by 20%, and the number of
Non-Diverse Moderately Diverse Highly Diverse
highly diverse debuts decreased by 33%.

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Diversity in T V MIPCOM 2020
 PLATFORM SNAPSHOT
In this section, we provide a deep dive into diversity on
broadcast, cable, and streaming platforms.

Show Trivia!

Pose is categorically an
“outstanding” show. As
of October 2020, Pose’s
U.S. audience demand
is 10x greater than the
average U.S. title. The
show also travels well
to Brazilian audience,
with which it is 14x more
in-demand than the
average title.

20 21
Diversity in T V MIPCOM 2020
 BROADCAST Broadcast’s diverse debuts have steadily grown more in-demand BROADCAST
and more popular than its non-diverse debuts.

What are the 25 Most In-Demand Diverse Broadcast Debuts Between 2017 and 2019?
Broadcast’s Diversity Demand vs Supply Gap
How has Broadcast’s Diversity Demand Gap Changed Between 2017 and 2019?
Genre Breakdown of Top 25 In-Demand Diverse US Broadcast Scripted Debuts 2017-2019
Examining the 25 most in-demand debuts on broadcast yearly, we found: Genre
Batwoman Action and Adventure

The Orville Comedy

Average Demand of Annual Top 25 In-Demand US Broadcast Scripted Debuts
Legacies Drama
• S
 ince 2017, diverse broad-
Prodigal Son Drama
12x cast debuts have consis-
Indexed to Annual Average

Manifest Drama
tently outperformed
11x
Demand (x times)

non-diverse debuts. Nancy Drew Drama

10x The Good Doctor Drama
9x • D iverse and non-diverse
8x Black Lightning Action and Adventure
debuts from broadcast are
7x both one-and-a-half times The Passage Drama
more in-demand in 2019 Stumptown Drama
than they were in 2017.
A Million Little Things Drama

Emergence Drama
• I n 2019, diverse debuts are
20% more in-demand than Whiskey Cavalier Drama
2017 2018 2019 non-debuts. Marvel’s Inhumans Action and Adventure
Non-Diverse Diverse New Amsterdam Drama

FBI Drama

The Enemy Within Drama

How has Talent Diversity in Broadcast’s Debut Series Regulars Changed Between 2017 and 2019?
The Gifted Action and Adventure

Annual Percentage of Diverse Talent in US Broadcast’s Scripted Debuts Series Regulars God Friended Me Drama

Charmed Drama
• T
 he share of broad- All American Drama
cast debuts’ diverse
Bluff City Law Drama
series regular talent
56% 50% 55% 24: Legacy Action and Adventure
has steadily remained
above 40%, the high- Magnum, P.I. Drama
est of any platform The Neighborhood Comedy
type.
0 5 10 15 20 25 30
• D
 iversity in broadcast
44% 50% 45% Indexed to Annual Average US Demand (x times)
debuts’ series regular
talent peaked in 2018 Drama Comedy Action and Adventure
at 50%, decreasing to
45% in 2019. • 7 2% of the 25 most in-demand diverse broadcast debuts were dramas.
2017 2018 2019

Non-Diverse Diverse • 20% of the 25 most in-demand diverse broadcast debuts were action and adventure series.

22 23
Diversity in T V MIPCOM 2020
 CABLE Cable’s debuts talent diversity has stagnated. In 2019, cable’s CABLE
diverse debuts still perform as well as its non-diverse debuts.

What are the 25 Most In-Demand Diverse Cable Debuts Between 2017 and 2019?
Cable’s Diversity Demand vs Supply Gap
How has Cable’s Diversity Demand Gap Changed Between 2017 and 2019? Genre Breakdown of Top 25 In-Demand Diverse US Cable Scripted Debuts 2017-2019

Genre
Examining the 25 most in-demand debuts on cable yearly, we found:
Euphoria Drama

What We Do In The Shadows Comedy

Average Demand of Annual Top 25 In-Demand US Cable Scripted Debut Series Mayans M.C. Drama

Marvel’s Cloak & Dagger Action and Adventure

13x 13x • S
 ince 2017, cable’s diverse Deadly Class Drama
Indexed to Annual Average

debuts have more than

Treadstone Drama
Demand (x times)

doubled their demand, in

Good Trouble Drama
creasing 117%.
9x 9x Snowfall Drama
8x
• N
 on-diverse debuts de- Pearson Drama
6x mand only increased 62%.
The Deuce Drama

• In 2018 and 2019, cable’s Pose Drama

diverse and non-diverse Black Monday Comedy
debuts are equally popular. Power Rangers Children

2017 2018 2019 L.A.’s Finest Drama

Six Drama
Non- Diverse Diverse
SMILF Drama

Feud Drama
How has Talent Diversity in Cable’s Debut Series Regulars Changed Between 2017 and 2019? The Last O.G. Comedy

Blood Drive Drama

Annual Percentage of Diverse Talent in US Cable’s Scripted Debuts Series Regulars
The Long Road Home Drama

David Makes Man Drama

• W
 hile demand for diverse Here And Now Drama
debuts has doubled, ca- Famous In Love Drama
63% 64% 64%
ble’s talent diversity in its
Dietland Action and Adventure
debuts’ series regular cast
Miracle Workers Comedy
has stagnated.

0 5 10 15 20 25 30 35
• In 2019, cable has the
Indexed to Annual Average US Demand (x times)
smallest percentage of
talent diversity among its 37% 36% 36%
Drama Comedy Action and Adventure
debuts’ series regular cast
of any platform type.

2017 2018 2019 • 72% of the most in-demand diverse cable debuts were dramas.

Non- Diverse Diverse • 16% of the 25 most in-demand diverse cable debuts were comedies.

24 25
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 Streamers have made consistent progress in talent
STREAMING PLATFORMS diversity. In 2019, their diverse debuts outperform STREAMING PLATFORMS
their non-diverse debuts.

What are Streamers’ 25 Most In-Demand Diverse Debuts Between 2017 and 2019?
Streamers’ Diversity Demand vs Supply Gap
Genre Breakdown of Top 25 In-Demand Diverse US Streamers’ Scripted Debuts 2017-2019
How has Streamers’ Diversity Demand Gap Changed Between 2017 and 2019?
Genre
Examining the 25 most in-demand debuts on streamers yearly, we found: The Witcher Action and Adventure

The Mandalorian Action and Adventure

Star Trek: Discovery Drama

Average Demand of Annual Top 25 In-Demand US Streamers’ Scripted Debut Series
• O
 ver the last three years, Chilling Adventure of Sabrina Horror
the demand of streamers’
The Twilight Zone Horror
37x diverse debuts has nearly
Indexed to Annual Average

Harley Quinn Action and Adventure

doubled, increasing 85%.
Demand (x times)

Truth Be Told Drama

• I n 2019, for the first time, Titans Action and Adventure
26x
streamers’ diverse debuts
22x Marvel’s Runaways Action and Adventure
were more in-demand
20x Altered Carbon
18x 17x than their non-diverse de- Drama
buts, leading in demand Marvel’s The Defenders Action and Adventure
by 42%.
Raising Dion Action and Adventure

Russian Doll Comedy

• T
 he demand for streaers’
non-diverse debuts has On My Block Comedy
2017 2018 2019 increased less than 20% in Tom Clancy’s Jack Ryan Drama
the last three years.
Non-Diverse Diverse Modern Love Drama

High School Musical Comedy

Tell Me A Story Drama

How has Talent Diversity in Streamers’ Debut Series Regulars Changed Between 2017 and 2019?
Dollface Comedy

Annual Percentage of Diverse Talent in US Streamer’s Scripted Debuts Series Regular Wu Assassins Drama

She-ra And The Princess of Power Children

• S
 treamers have steadily Another Life Action and Adventure
increased their percentage
You Drama
of talent diversity in debut
70% 66% 61% Weird City Comedy
series regular cast.
Shrill Comedy
• I n 2017, less than one in
three of streamers’ debut 0 20 40 60 80 100 120
series regular talent was Indexed to Annual Average US Demand (x times)
diverse.
Drama Comedy Action and Adventure Horror Children
30% 34% 39%
• I n 2019, nearly two in five of
streamers’ debut series • 3
 3% of the most in-demand diverse streamers’ debuts were action and adventure series, often including themes of
regular talent were diverse. fantasy and science-fiction.
2017 2018 2019

Non-Diverse Diverse • 33% of the most in-demand diverse streamers’ debuts were dramas, diverging from broadcast’s and cable’s debut trends.

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 “We know that our success is dependent on nurturing and maintaining a prin-
ciple of inclusion. This led to defining one of Quibi’s core values as ‘Be The
Audience’ -- which inherently puts diversity and inclusion as a central tenet
in all of our operations -- from the team members we hire to the creators we
work with and the stories they tell.”

- Jim O’Gorman, Head of Talent & Organization, Quibi

INDUSTRY VOICES
“As a multi-media company dedicated to the power of art, we strive to raise
Executives from the industry reflect on the report’s findings awareness and celebrate all forms of arts and culture. To be a true reflection
of our community, all voices should have a platform regardless of race, gen-
and the future of diversity in TV. der, sexual orientation or religion. This study underscores the value proposition
of diverse programming, and highlights the fact it’s also a good business
strategy.”

- Liz Janneman, EVP Network Strategy, Ovation

“At Gaumont, inclusion and diversity is at the core of our culture and we strive
to reflect this within our internal organization, in the stories we choose to tell
and the talent we work with to bring those stories to life. Through our highly
acclaimed films and with 18 series across 8 languages, we have made great “It’s incredibly important for us as a company to use data to help inform clients’
strides toward contributing to an industry standard which offers representation decisions across film, TV, music, sports, and more. We have had a longtime
for all. Through our partnership with Parrot Analytics, we have the ability to focus on diversity backed with real data, which is why we are excited that this
access real time data and insights across global audiences allowing us to re- first-of-its-kind study led by CAA and Parrot Analytics will help guide the agen-
main agile in our continued efforts to serve the needs of our global partners cy and industry as a whole as we continue to push for greater diversity onscreen.”
and their audiences.”
- André Vargas, Head of Data, CAA
- Christophe Riandee, Vice-CEO, Gaumont

“Growing up, I was drawn to content that reflected the faces of my family and
“Richard Pryor, Eddie Murphy, and Will Smith were topping the charts decades
community, whenever it was available. For so long audiences have craved true
before a Black actor was entrusted a starring role in a blockbuster-budgeted
representation on their television screens. More recently, the opportunity has
film. The demand for more diversity is not just large, it has existed for decades
emerged to showcase what so many have known to be true, with data. Unsur-
and will continue to grow for decades more. The ability to better assess this
prisingly, the numbers prove that investing in authentically diverse content isn’t
demand is good for audiences, for talent, for Hollywood, Bollywood, Nollywood
just the right thing to do, but actually a solid business investment.”
and more.”
- Matthew Ball, Managing Partner, Epyllion Industries - Karina Dixon, Global Insights Director, Parrot Analytics

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Diversity in T V MIPCOM 2020
 Nicole
Zamanzadeh,

RECOMMENDATIONS
PhD
4. Integrate culturally specific themes or storylines
throughout the show. Insights Analyst
Parrot Analytics
Explore opportunities to build in themes or sto-
rylines that authentically reflect the character’s
experience. Even subtle cultural representations
can have a tremendous impact on viewers and
deepen their engagement with the show. Be cau-
POSTFACE
Based on our findings, we propose the following tious of playing into negative or harmful stereo- Our study demonstrates that audiences’
types with new storylines that may arise as a result demand for shows with diverse casts has
guidelines for cultivating diversity:
of your casting choices. grown faster than the industry’s supply of
shows with diverse casts. Our study reflects
the industry’s progress thus far, and grow-
ing opportunity in the future.

1. Evaluate casting breakdowns and avoid language that encourages implicit bias.

When specifying a role as diverse, be sure to check for language that could feed into Yet, diversity extends far beyond the quan-
harmful stereotypes. Consider removing negative identity markers and avoid using
prototypes that might affect how people imagine the character on the page. Focus
on highlighting traits and qualities that support the narrative and character devel-
5. Proactively source, acquire and greenlight ma-
terial where diverse talent can be central to the
tity of diverse actors or of diverse people.
Diverse representation includes the type
and variety of roles that marginalized peo-
narrative.
opment in an authentic way. ple play in the creative process of TV.
Exercise your influence to identify material that
elevates underrepresented communities and voic-
Talent diversity is foundational, yet it is far
es. Be careful to maintain the cultural integrity of
from an all-encompassing measure of in-
these projects and to bring in the right creatives
clusive storytelling in TV. I hypothesize the
and consultants that can ensure that you represent
impact of diverse representation evidenced
specific communities and cultures with care.
2. Set casting goals that reflect the world we live in.

According to recent data for the U.S. Census Bureau, 40% of the population identifies
here becomes magnified by the participa-
tion of diverse voices in content creation.

as racially or ethnically diverse. Set strategic casting targets that are reflective of
When diverse voices make meaningful con-
the audiences watching and think about how casting decisions can be complimentary
tributions to the creative process of con-
to the show.
tent, they expand the reach, power, and

6. Challenge unfair stereotypes that have influ-

ence over creative decisions.
Seek out reliable data to use in any conversations
during the decision-making process. Be sure to
call out specific instances where individual opin-
relevance of representation because they
reflect authentic lived experiences.
I believe the diversity in U.S. audiences and
our global society is fundamental to the

3. Be flexible with systems that measure and define a show’s success.

It’s important that executives look beyond hard viewership data. Analyzing audienc-
ions are being used to direct decisions on the fu-
ture of a show or on specific creative choices.
es demand more holistically, including social conversations, can be critical to illus- Whenever possible, bring in appropriate “comps”
trating a show’s value and should be considered in decisions around future seasons that strengthen the case for racial and ethnic di-
or other projects that are being developed. versity in your project.
fabric that builds and sustains our industry.
Storytelling is and has been cherished by
people across time, culture, and geography
for much needed relief from and informa-
tion about our world. As we evidence the
value of representing the diversity in our
experiences, we see the new possibilities
ahead for TV creatives and audiences alike.

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